The story of Pier Paolo Pasolini’s visit to Isfahan, Iran, in the early 1970s is one that intertwines art, culture, controversy, and tragedy. Pasolini, an influential figure in Italian neorealism, was known not only for his powerful films that explored mythological and philosophical themes but also for his provocative personal views and avant-garde lifestyle. His trip to Isfahan to shoot scenes for his adaptation of One Thousand and One Nights set off a series of controversies, including criticism from religious authorities, confusion among locals, and a moral panic over his choice of filming locations within religious sites. This visit is a microcosm of the cultural clash between East and West, art and religion, and personal freedom versus societal norms.
Pasolini and Italian Neorealism
Pier Paolo Pasolini emerged as a powerful figure in Italian cinema during the post-World War II period, which marked the rise of Italian neorealism. This movement focused on depicting the everyday lives of ordinary people, particularly those marginalized by society, and often highlighted poverty, social injustices, and human resilience. Pasolini’s films were celebrated for their raw authenticity and unfiltered portrayals of human struggles, with a distinct mix of realism and poetic storytelling.